Archive for the tag “Jean-Luc Godard”

कान फिल्म महोत्सव के नाम गोडार्ड की वीडियो-चिट्ठी

ज्यां ल्यूक गोडार्ड की सार्वजनिक उपस्थति, प्रस्तुति बहुत दिनों से बड़ी खबर बनती रही है. गोडार्ड अपनी पेशेवर दुनिया के सार्वजनिक मंचों और उत्सवों से लंबे अरसो से गायब रहते आ रहे हैं. फिल्म बनाते हैं, फिल्म प्रदर्शित भी होती है लेकिन उन्होंने अपने-आपको साक्षात प्रदर्शित करने से रोक रखा है. इसे उन्होंने सैद्धांतिक आचरण का आधार बना दिया है. गोडार्ड उन विरले निदेशकों में हैं जिनका अपना सिक्का चलता है. वे बाजारू तरकीबों वाले पैसों के मोहताज नहीं रहते हैं. फिल्म उनका जीवन है, व्यवसाय नहीं. इसीलिए वे अपने इस फ़िल्मी सफ़र को बाजारू सफ़र में तब्दील होने से हमेशा रोकते रहते हैं.

गोडार्ड ने इसी साल एक बनाई है, फिल्म का नाम है- गुड बाय टू लैंग्वेज. यह फिल्म कान फिल्म महोत्सव के लिए चयनित हुयी और जैसा कि विदित है वे 68 के दौर से ही कान फिल्म महोत्सव को सैद्धांतिक तौर पर बहिष्कृत कर रखे हैं. लोगों को इस बार अपेक्षा थी कि शायद इस बार गोडार्ड के दर्शन संभव हो सकते हैं. लेकिन उन्होंने अपने रचनात्मक दर्शन से इस बार लोगों को फिर से चकित कर देने में सफल रहे. कान महोत्सव के सहभागियों और आयोजकों के नाम उन्होंने एक वीडियो सन्देश/चिट्ठी भेजी और उस वीडियो चिट्ठी का वहां प्रदर्शन हुआ. यहाँ उसी विडिओ चिट्ठी का लिंक लगाया गया है और उसके टेक्स्ट के हिंदी अनुवाद को भी चिपकाया गया है. यह विडियो सन्देश गोडार्ड  के बारे में बहुत कुछ कहता है. आज के जमाने में  वे एक ऐसे बौद्धिक और रचनात्मक व्यक्तित्व हैं जो अपने रचना-संसार की भाषा के दायरे में अपनी बात को रखने के पाबन्द हैं. वे अपनी बात को पुष्ट करने या मूर्त करने के लिए समाचार पत्रों या टेलीविजनों की तात्कालिक मसालों वाली छौंकदार आंसुओं का इस्तेमाल नहीं करते हैं. एक महान कलाकार का रचनात्मक दायरा या पीड़ा क्या हो सकती है,  इस वीडियो -सन्देश में देखा-सुना जा सकता है.

मेरे प्रिये अध्यक्ष जी, फिल्मोत्सव के निदेशक महोदय और प्यारे दोस्तों,

इस फिल्मोत्सव में आमंत्रित करने के लिए आप सभी को धन्यवाद्. लेकिन आप यह भी जानते हैं कि लम्बे समय से मैं किसी भी फिल्म-वितरण-प्रणाली का हिस्सा नहीं रहा हूँ. और मैं वहां से भी नहीं हूँ जहाँ से आप मुझे समझते हैं. दरअसल मैं एक और ही रास्ते पर चल रहा हूँ. मैं इस दुनिया से इतर दुनिया का निवासी हो गया हूँ; कभी-कभी वर्षों तक के लिए और कभी क्षण भर के लिए. फिल्म के प्रति अपने उत्साही आग्रहों के कारण वहां गया और वहीं ठहर गया.

[फिल्म ‘अल्फाविल्ले’ के एक दृश्य में लेमी कॉशन के रूप में एडी कोंसटेंटाइन ]

 एडी कोंसटेंटाइन/ लेमी कॉशन: इस वातावरण में मैं खुद को किसी भी तरह से सहज नहीं पाता हूँ. १९२३ अब नहीं है. मैं वह आदमी भी नहीं हूँ जो पुलिस के साथ संघर्षरत था, आदमी जो हाथ में बंदूक लिए परदे के पीछे से लड़ाई लड़ा. जिंदादिल महसूस करना क्रांति और स्टालिन से ज्यादा महत्वपूर्ण था.

 एकांत का जोखिम अपने आप को खोने का जोखिम है. इस स्थिति में आदमी खुद को दार्शनिक मान लेता है क्योंकि वह मानता है कि आध्यात्मिक सवालों के सन्दर्भ में सत्य एक विस्मय है, यह एक ऐसा सवाल है जिसे हर कोई पूछ रहा है. एक दार्शनिक का तर्क कहता है कि ‘अन्यता के बोध वालों’ को बचा पाने का क्या कोई भी रास्ता बचा है, और यही वह बिंदु है जिसे हम तर्क कहते हैं.

[गोडार्ड की फिल्म ‘किंग लियर’ का एक दृश्य, बर्गेस मेरेडिथ और मोलियो हिंगवाल्द के साथ]

मोलियो हिंगवाल्द/कॉर्डेलिया किंग लियर से कहती है- “मैं अपने दिल को अपने मुंह में नहीं रखती हूँ.”

[दृश्य यहाँ से कट होकर वर्तमान गोडार्ड के पास टिक जाता है]

मैं भी अपने दिल को अपने मुंह में अब और नहीं रख पाता. इसीलिए मैं वहां जा रहा हूँ जहाँ मैं हवा के झोंकों से बजता हूँ, (कैमरे के साथ ट्रूफ़ो की तस्वीर) जैसे पतझड़ की पत्तियाँ दूर उड़ती चली जाती हैं. (याक प्रेवेर की एक प्रसिद्ध कविता के अंश).

उदाहरण के बतौर देखें तो पिछले साल मैंने ट्राम लिया जो कि एक रूपक है, एक रूपक और…

[काले परदे पर सफ़ेद अक्षर में लिखा है: हाँ, क्यूबा.]

[पेरिस में हवाना बार, ब्लैक एंड व्हाईट फिल्म का एक दृश्य  ]

१९६८ से बकाये पैसों को चुकाने के लिए आ, हवाना बार के पास वापस आ…. और अब मैं विश्वास करता हूँ कि चीजों को विश्लेषित करने की संभावना भाषा के साथ लड़ाई का एकमात्र बहाना है….और हमेशा कि तरह मेरा विशवास है कि यह असंभव है. आज २१ मई है. अध्यक्ष जी, यह फिल्म नहीं है बल्कि एक व्यक्ति के नजदीकी नियति के सचे संतुलन को पकड़ने वाला एक सरल नृत्य (वाल्ट्ज) है.

बाशऊर
ज्यां ल्यूक गोडार्ड

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Make Your Own Movie: Umberto Eco

By Umberto Eco

In 1993, with the final, complete adoption of video cameras even in the offices of the national registry, cinema both commercial and underground was in real trouble. The prise de la parole had by now transformed movie making  into a technique within everyone’s reach, and everyone was watching his or her own film, deserting the movie theatres. New methods of reproduction and projection in cassettes insertable into the dashboard of the family  car  had  made  obsolete  the  primitive  equipment  of  the  avant-garde  cinema.  Numerous  handbooks  were  published  on  the  order  of  Be  Your  Own  Amonioni.  The  buyer  bought  a  “plot  pattern, ”  the  skeleton  of  a  story  which he could  then  fill  in  from  a  wide  selection of  variants.  With  a  single  pattern  and  an   accompanying  package  of  variants  an  individual  could make,  for example,  1 5 , 74 1  Antonioni movies.  Below  we  reprint  the  instructions  that  came  with  some  of  these  cassettes.  The letters refer to the interchangeable elements.  For example, the basic  Antonioni pattern  (“An  empty lot.  She  walks  away”)  can  generate  “A  maze  of  McDonald’s  with visibility  limited due to the  sun’s glare.  He toys for  a  long time with an object.”  Etc.

michelangelo antonioni's blow-up

michelangelo antonioni’s blow-up

Antonioni Scenario

 AnX emptyY lotZ. SheK  walks  awayN.

Variants Key

  •  x      Two,  three,  an  infinity  of.  An enclosure of.  A maze of.
  •      Empty.  As far as the eye can see.  With visibility   limited  due  to  the  sun’s  glare.  Foggy.  Blocked    by  wire-mesh  fence.  Radioactive.  Distorted  by  wide-angle lens.
  •      An      island. City.  Superhighway cloverleaf.  McDonald’s.  Subway station.  Oil  field.  Levit­  town. World  Trade  Center.  Stockpile  of pipes.  Scaffolding.  Car cemetery.  Factory area on Sun­  day.  Expo after closing.  Space  center  on  Labor  Day.  UCLA  campus  during  student  protest  in  Washington.  JFK airport.
  • k      He.  Both he and she.
  •      Remains  there.   Toys  for  a  long  time  with  an  object.  Starts  to leave,  then  stops,  puzzled,  comes  back  a   couple   of  paces,   then   goes   off  again. Doesn’t  go  away,  but  the  camera  dollies  back. Looks  at  the  camera without any  expression  as  he  touches her  scarf.

Jean-Luc Godard  Scenario

 He  arrivesa  and  then  bangb a  refineryc  explodes.The  Americansd  make lovee. Cannibalsf armed with  bazookasg  fireh   on  the  railroad.i  She  fallsl  riddled  with  bulletsm from  a  rifle.n  At  mad  speedo   to  Vins  cennesp  Cohn-Benditq  catches the trainr  and speaks.  Two ment  kill her.u  He reads sayings of Mao.v  Montesquieuz  throws  a   bombw  at   Diderotx.  He  kills   himself.k  He peddles Le  Figaro.j The redskins arrive.y 

Variants Key

  • a      Is already there reading the sayings  of Mao. Lies dead on the superhighway with brains spattered. Is  killing  himself.  Harangues   a  crowd.   Runs along  the  street. Jumps out of a window.
  • b      Splash.      Splat.   Wham. Rat-tat-tat. Mumble mumble.
  • c      A kindergarten.  Notre Dame. Communist Party headquarters.  Houses of Parliament. The Parthenon.  The offices of Le Figaro. The Elysee.  Paris.
  •      The Germans. French paratroopers. Vietnamese.  Arabs.  Israelis.  Police.
  •      Do  not  make  love.
  • f      Indians. Hordes of accountants. Dissident Communists. Crazed truck drivers.
  • g      Y agatan.  Copies  of  Le  Figaro.  Pirate’s  sabers. Submachine -guns.  Cans  of  red  paint.  Cans  of blue paint.  Cans of yellow paint. Cans of orange paint.  Cans  of  black  paint. Picasso paintings. Little red books. Picture postcards.
  • h      Throw rocks.  Bombs.  Empty  cans  of red  paint, green paint, blue paint, yellow paint, black paint. Pour some slippery stuff.
  • i  On  the  Elysee. On the  University  of Nanterre. In  Piazza Navona.  All  over the  road.
  • l  Is thrown out of the window by CIA agents.  Is raped  by  paratroopers.  Is  killed  by  Australian aborigines.
  • m      With a gaping  wound in the belly. Spewing forth streams of yellow  (red,  blue,  black) paint.  Making love with Voltaire.
  •      Loquat.
  • 0      Unsteadily.  Very, very slowly.  Remaining still while the background (process  shot) moves.
  • p      Nanterre.  Flins.   Place de la Bastille.  Clignan- court.  Venice.
  • q      Jacques Servan-Schreiber.  Jean-Paul Sartre.  Pier Paolo Pasolini.  D’ Alembert.
  • r      Misses  the  train.  Goes on a bicycle.  On roller skates.
  • s      Bursts  into  tears.  Shouts Viva Guevara.
  • t      A band  of Indians.
  •      Kill everybody.  Kill nobody.
  •      Quotations from Brecht.  The Declaration of the Rights  of  Man.  Saint-] ohn  Perse.  Prince  Korzybski.   Eluard.  Lo Sun.   Charles Peguy.  Rosa Luxemburg.
  •      Diderot.· Sade.  Restif de la Bretonne. Pompidou.
  • w      A tomato.  Red paint (blue,  yellow,  black).
  • x      Daniel  Cohn-Bendit.   Nixon.   Madame de  Sevigne.  Voiture.  Van Vogt.  Einstein.
  • k    Goes  away.  Kills all  the others.  Throws  a bomb at the Arc de Triomphe.  Blows up an electronic brain.  Empties  onto  the ground  various  cans  of yellow (green,  blue,  red,  black) paint.
  • J   The  sayings of Mao.  Writes a ta-tze-bao.  Reads erses of Pierre Emmanuel.  Watches  a  Chaplin  movie.
  • y      The   paratroopers.  The   Germans.  Hordes starving   accountants brandishing sabers.  Armored cars.  Pier Paolo Pasolini with Pompidou. The Bank  Holiday  traffic. Diderot  selling  the Encyclopedie  door  to  door. The Marxist-Leninist Union on  skateboards.

Ermanno 0lmi Scenario

A forestera  out of workb  roams at lengthc then comes back to his native villaged and finds his mothere is deadf. He walks in the woods,g talks with a tramph who understandsi the beauty of the treesl and he remains there, m thinking.n

Variants Key

  • a        A young man who has just arrived in the city. A former partisan. A jaded executive. An soldier.  A miner.  A ski instructor.
  •       Overworked. Sad. Without any purpose in life. Sick. Just fired. Overwhelmed by a feeling of emptiness. Who has lost his faith. Who has returned to the -faith. After a vision of Pope John XXIII.
  • c        Briefly. Drives a mini Cooper along the super­ highway. Is driving a truck from Bergamo to Brindisi.
  •       To his brother’s sawmill. To the mountain hut. To Pizzo Gloria. To Chamonix. To Lago di  Carezza. To Piazzale Corvetto and his cousin’s tobacco shop.
  • e        Another close relative. Fiancee. Male friend. Parish priest.
  •        Sick. Has become a prostitute. Has lost her faith. Has returned to the faith. Has had a vision of Pope John XXIII. Has left for France. Is lost in an avalanche. Is ,Still performing the humble little daily tasks as always.
  • g        On the superhighway. Near the Idroscalo. At Rogoredo. Through immaculate snow. At San Giovanni sotto il Monte, Pope John XXIII’s birthplace. In the halls of a totally advertising agency.
  •       With a former Alpine soldier. With the parish priest. With Monsignor Loris Capovilla. With a former partisan. With a mountain guide. With a ski instructor. With the head forester. With the executive of an industrial design studio. With a worker. With an unemployed southerner. Doesn’t understand. Remembers. Rediscovers. Learns thanks to a vision of Pope John XXIII. Of the snow. Of the work site. Of solitude. Of friendship. Of silence.
  • m           Goes away forever.
  • n       Thinking of nothing. With no purpose in life now. With a new purpose in life. Making a novena to Pope John XXIII. Becoming a for­ ester (mountain guide, tramp, miner, water bearer).

Angry Young Directors’ Scenario

A young polio victim x of very rich Y parents sits in a wheelchairz in a villa n with a park full of gravel. k He hates his cousin, s an architect w and a radical, q and has sexual congress e with his own mother b in the missionary position, v then kills himself f after first playing chess a with the farm manager.j

Variants Key

  • x       Paraplegic. Compulsive hysteric. Simple neu­ rotic. Revolted by the neocapitalistic society. Unable to forget an act of sexual abuse at the age of three by his grandfather. With a facial tic. Handsome but impotent. Blond and lame (and unhappy about it). Pretending to be crazy. Pre­ tending to be sane. With a religious mania. En­ rolled in the Marxist-Leninist Union but for neurotic reasons.
  •       Fairly well off. In decline. Diseased. Destroyed. Separated.
  • z        On cul-de-jatte. On crutches. With a wooden leg. With false teeth. With long fangs on which  he leans. Supports himself by leaning against trees.
  •       Yacht. Garden city. Sanatorium. Father’s private clinic.
  • k       Another kind of paving, provided it makes a constant sound when a heavy vehicle arrives.
  •     Other close relation, as desired, half brothers and in-laws admissible. Mother’s lover (or fa­ ther’s, aunt’s, grandmother’s, farmer’s, fiancee’s).
  •       City planner. Writer. President of Save Venice. Stockbroker (successful). Left-wing political writer.
  •       Subscriber to the New York Review. Moderate Communist. Liberal professor. Former partisan leader. Member of WWF board. Friend of Theo­ dorakis, Garry Wills, Jessica Mitford. Cousin of Berlinguer. Former leader of Student Move­ ment.
  • e        Tries to have sexual congress. Reveals impotence. Thinks of having sexual congress (dream sequence). Deflowers with bicycle pump.
  • b       Grandmother, aunt, father, sister, female second cousin, female first cousin, sister-in-law, brother. v  From behind. Inserting a stick of dynamite into the vagina. With an ear of corn (must be pre­ ceded by casual Faulkner quotation from radical architect, see s-w). Cunnilingus. Beating her savagely. Wearing female dress. Dressing up to look like father (grandmother, aunt, mother, brother, cousin). Dressed as Fascist official. In U.S. Marine uniform. With plastic mask of Dracula. In SS uniform. In radical dress. In Scorpio Rising costume. In a Paco Rabanne tailleur. In prelate’s robes.
  • f        Sprinkles himself with gasoline. Swallows sleep­ ing pills. Doesn’t kill himself but thinks of kill­ ing himself (dream sequence). Kills her (him). Masturbates while singing “Love divine, all loves excelling. ” Calls the suicide hot line. Blows up the post office. Urinates on the family tomb. Sets fire to photo of himself as a baby, with savage laughter. Sings “Mira Norma.”
  •        Chinese checkers. Toy soldiers. Hide-and-seek. Tag. Gin rummy. Slapjack. Racing demons. Fan­ tan. Snap. Spin the bottle.
  • J        His aunt. Grandmother. Innocent little sister. Himself in the mirror. Dead mother (dream sequence). The postman on his rounds. The old housekeeper. Carmen Moravia. A Bellocchio brother (according to preference).

Luchino Visconti Scenario

The Baroness, a a Hanseatic b lesbian, betrays her male lover, c a worker at Fiat, d reporting him e to the police. f He dies g and she repents h and gives a big party, i orgiastic, l in the cellars of La Scala m with transvestites, n and there poisons herself. 0

Variants Key

  •        Duchess. Daughter of the Pharaoh. Marquise. Dupont stockholder. Middle European (male) composer.
  • b       From Munich. Sicilian. Papal aristocracy. From Pittsburgh.
  •        Her female lover-. Husband. Son with whom she has an incestuous relationship. Sister with whom she has an incestuous relationship. Lover of her daughter with whom she has an incestuous re­ lationship, though she betrays her daughter with her daughter’s male lover. The Oberkomman- danturweltanschaunggotterdammerungfiihrer of the SA of Upper Silesia. The catamite of her impotent and racist husband.
  •  d      A fisherman from the Tremiti Islands. Steel­worker. Riverboat gambler. Mad doctor in a Nazi concentration camp. Commander of the Pharaoh’s light cavalry. Aide-de-camp of Mar­ shal Radetzsky. Garibaldi’s lieutenant. Gondo­ lier.
  • e        Giving him wrong directions about the route. Entrusting to him a bogus secret message. Sum­ moning him to a cemetery on the night of Good Friday. Disguising him as Rigoletto’s daughter and putting him in a sack. Opening a trapdoor in the great hall of the ancestral castle while he is singing Manon dressed up as Marlene Dietrich.
  • f        To Marshal Radetzsky. To the Pharaoh. To Tigellinus. To the Duke of Parma. To the Prince of Salina. To the Oberdeutscheskriminalinter­ polphallusfiihrer of the SS of Pomerania.
  • g        Sings an aria from Aida. Sets off in a fishing smack to reach Malta and is never heard from again. Is beaten with iron bars during a wildcat strike. Is sodomized by a squadron of uhlans under the command of the Prince of Homburg.  Becomes infected during sexual contact with. Vanina V anini. Is sold as a slave to the Sultan and found again by the Borgia at the flea market of Portobello Road. Is used as a throw rug by the Pharaoh’s’ daughter.
  •  h      Is not the least repentant. Is wild with joy. Gone mad. Bathing at the Lido to the sound of balalaikas.  A big funeral. A satanic rite. A Te Deum  thanksgiving.  Mystical. Dramatic. Baroque. Algolagnical. Scatological. Sadomasochistic.
  •  m     Pere-Lachaise. Hitler’s Bunker. In a castle in the Black Forest. In section 215 of the Fiat Mirafiori  factory. At the Hotel des Bains on the Lido at Venice.
  •  n      With corrupt little boys. With German homo­ sexuals. With the Trovatore chorus. With lesbi­ ans dressed as Napoleonic soldiers. With Cardinal Tisserant and Garibaldi. With Claudio Abbado. With Gustav Mahler.
  •  o      Attends the entire Ring cycle. Plays ancient songs of Burgundy on a Jew’s harp. Undresses at the climax of the party, revealing that she is really a man, then castrates herself. Dies of consump­ tion, wrapped in Gobelin tapestries. Swallows liquid wax and is buried in the Musee Grevin. Has her throat cut by a lathe operator as she utters obscure prophecies. Waits for the acqua alta in St. Mark’s square and drowns herself.

 Excerpts from Umberto Eco 1993-1972,  Misreadings, Translated from the Italian by William Weaver.

All about Little Things: Love, Sex and Gender

I love you and I say this in front of Marie. Your gender looks at the whole person who has sex with her. Your sex, Alexandre, who gives me much pleasure. Your sex, Alexandre, is not important to me. That said, poured another Pernod. Your head that you understand everything, who tells stories and sounding absolutely ridiculous and pretentious. The joke among us is that one takes it very seriously and the other is not taken seriously. – Guess who takes it seriously. – Do you two or all three? Of us, Alexandre and myself. Marie, let me for once… But if I let you! Let me, I beg you, Marie, let me, by a sad story of sex… Understand that stories of sex for me is unimportant. And I do not care if foll�is. I’m so happy with you. I do not care. Understand once and for all brings me to cool Look, I’m starting to get drunk and mumbling. It is absolutely horrible because I say what I think. And I could stay with you all the time, I’m so happy. I feel loved by both. And the other is looking at me with eyes of moths, thinking: “Small, still talking, but I pillars. I beg you, I’m not pretending. But what do you think? For me there are no whores. For me, a girl who fuck with anyone not a whore. To me there is no whores, that’s all. Anyone can suck, fuck and can not be a bitch. I agree. There are no whores on earth, hell, you know. Surely you understand. A married woman who is happy and dreaming of fucking anyone. with the head of her husband, an actor of shit with the milkman, the plumber, is a whore? There. What does the word “whore”? Only pussies, there is only sex. What do you think? It is sad, eh? It is very cheerful. I leave myself screwed by anyone. I fucked and I have a great time. Why did you give much importance to sex stories? Sex… Fuck me good. How I love you! Only you can fuck well. How to deceive people! What are gullible! Only one you, there’s only one me. Only you can fuck well. Only I can be fucked well for you. How funny! What a horrible and sordid! Damn! What a sordid and horrible! If you knew as I love them both. And the little that has to do with sex. I recently deflowered with 19 or 20 years. How little does! And then I had a lot of lovers. And I’m fucked. It may be a patient, a chronic case of nymphomania. And yet I do not care. Getting pregnant would be a real tostonazo. I have an “Tampax” and to take it off and fuck should do their best, brings me to the cooler. If people could understand that fucking sucks. There is only a beautiful thing: Because you love so fuck you want to create a child that you like. If not, is something sordid. You just have to fuck when two people really want. I’m not drunk. If I cry, I do it for all my past life. My past sexual life, which is so short. Five years of sexual life is very short. You see, Marie? I speak because I love you. So many men have fucked me… I have wanted to, you know? I wanted to because I have a fat ass in a given time may be desirable. I have beautiful breasts that are very desirable. My mouth is not bad. And when I paint the eyes, are not bad. And I have fucked a lot in a vacuum. I have wished so in a vacuum. I’m dramatizing, Marie, I’m not drunk. What do you think? What I pity my damn lucky? Not at all. I fucked like a whore. But, you know? I think a man will come some day, love me and make a child because I love it. And love is only valid when you want to have a baby. If you want a child, you feel that you love. A couple who does not want a child, is not a partner, it sucks. Anything, a speck of dust. Couples released… You screwed by your side, darling, fuck me for mine. We are very happy together. We met. We are so good… It is no reproach, on the contrary. My sadness is not a reproach, you know? It’s an old sadness we have had for 5 years. It is your affair. How well he sees you together! Look, you will be happy.

The Mother and The Whore(1973)

The Mother and The Whore(1973)

We get less pay for the same work as men. We’re less likely to get jobs […] We’re less likely to be educated, less likely to be unionized.The present setup of the family puts great strains on us. Either we’re struggling to combine badly paid work with bringing up a family or unable to do work for which we’ve been trained.The area of taboo on our sexuality is much more extensive, and the double standard is still pervasive. Some women still never experience orgasm.When we complain, it’s about little things. We want to drive buses and play football. We don’t want to be brought with bottles or expensive wines, We don’t want to be wrapped up in cellophane, sent off to make tea or shuffled into the social committee. And when you complain about the little things, you get stuck in the little things. It’s difficult to get out of them. It’s difficult to get beyond them and there’s no way they can be dismissed because people say, “Well, you’re just trying to be as men.”But it’s the little things which happen to you all the time.every day, all the time, wherever you go, all your life, which make revolutions. Revolutions are about little things.It’s here that the subordinated relates to the dominated. It’s here that discontent focuses…it’s here the experience is felt, is expressed, articulated, resisted through the particular….the particular pummel you gently into passivity, so that you can’t even see beyond the little things, beyond the particular.We don’t how to find one another or ourselves. Thus we are divided like all oppressed groups, divided by real situations and in our understanding and consciousness of our condition.We’re in different classes, as we devour and use one another.Emancipation is often only the struggle of the privileged to improve and consolidate its superiority.The women of the working class remain the exploited of the exploited, oppressed as workers and oppressed as women.We’re divided, too, because sometimes we’re with families and sometimes we’re without them. This makes us distrust one another, because the woman with a home and children….is suspicious of the women with no ties; she sees her as a threat, a potential threat to her territorial security.And the single woman feels the married woman is being subtly critical of her because she’s not fulfilling her role as homemaker, her function as child bearer. She feels that she’s being accused of being unable to be a woman.They tell us what we should be as we grow up, especially from puberty, we’re under intensive pressure to be acceptable, not to put ourselves outside the safety net of marriage. We’re taught from small girls that failure means not being selected by men. It’s the same as being..The sign of intelligence and subtlety is being able to secure the contractual bargain, handing over your virginity for a marriage document. Orgasm is a matter of merchandise. They don’t like us to be too clever. Remember: you might go to university, but men want someone who can cook. The emphasis in our education tends to be much more on integration. The encouragement of active criticism, of intellectual aggression, is very rare. It’s the cautious virtues which predominate.This is difficult when you find yourself in an intellectual confrontation with men, because there’s a double bind…..it’s assumed you have nothing to say, or it’s difficult to assert that you want to say something to say, or you’re observed to say nothing they assume you’ve got nothing to say.It’s very difficult to stray from the definition of what they want because there’s a danger of being rejected in a double sense. You’re not only rejected as a rebel, but you’re rejected for a moral reason, too. It’s much more difficult to cope with the moral thing. There’s still the whole dirty frightened patronizing world behind “slut,” “tart,” “old slag,” “nymphomaniac,” “dolly,” “bird,” “chick,” “bit of stuff,” “bit of crumpet,” “old bag,” “silly cow,” “bluestocking.” These words have got no male equivalents because there are no male equivalents…limited liberated areas. You give up struggling on every front and you ease into a niche of acceptance. You become the educated housewife with your cooking recipes. Or the image of the suffragette, which is a distorted image: tweedy, [with an air of authority, short hair] and a deep voice, advancing aggressively on the male world, in the boardroom The sexual oppression of this […] is a profound distaste for the male: emancipation simply becomes doing without men.Sexuality is another retreat. Because you haven’t had the choice, the free choice, of what to do with your bodies because they’ve been part of somebody else’s belongings. You prove that you have got control, that you are liberated, simply by fucking. But if you can’t extend the definition of your constraint beyond this, you’re in an even worse hang-up. Because you’re just caught: you’re reacting..you’re reacting not because you’re trying to say, “I want to be something else.” You’re just reacting to…They forget that you’re trapped within a system. You’re trapped fundamentally, through your class.And you’re trapped because you’re still reacting to the definition that somebody else has of you..Marxists have always stressed, when they talk about the subordination of women, that it’s part of the total, mutual devouring process called capitalism. They’ve said that capitalism forces people to eat each other….and that the false relationships between men and men, and women and men, are part of this process. But sometimes this has been twisted into a rather glib distinction..They’ve said, “It’s just an economic thing.” They’ve said, “Wait until we get the revolution, then we’ll deal you actual equality. We’ll give you equal pay, and we’ll give you nursery schools.”Another thing they’ve said is that the way that women are subordinated is through the family…..through a particular kind of historical process which developed along with capitalism. And therefore they’ve said, “When we’ve abolished capitalism, we can then go on to abolish the family….but people are attached to the family now, so you can’t do anything about it.” And in a way you can’t do anything about any of the situations of capitalism, ultimately. But in every other area – in the situation of the working class or in the situation of Negroes – where there’s an idea of struggle..there’s always been the idea that you work firstly for reforms, and then you put forward strategic demands. These are kinds of reforms which cannot be granted in the system, but they lead on to new kinds of possible alternatives. And it seems that it would be a good thing to apply this to women: that is, by asking certain things, you not only get a better condition, but you expose the inadequacies and the contradictions within the system.

British Sounds a.k.a. See You at Mao(1969)

British Sounds a.k.a. See You at Mao(1969)

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